There was dust from the first floor, which was very fuliginous, dark and greasy. On the top floor, there was some lighter dust. It was the hardest substance Iíve ever worked with, because itís disgusting. Dust is pieces of hair and skin. I think people scratch their heads a lot in museums; that gets mixed with the residue from the artworks themselves. Thatís the ultimate bind between the museum visitor and the artwork of Vik Muniz.
ďIím a product of a military dictatorship,Ē Vik Muniz said recently at his New York gallery, Sikkema Jenkins & Company. ďUnder a dictatorship, you cannot trust information or dispense it freely because of censorship. So Brazilians become very flexible in the use of metaphors. They learn to communicate with double meanings.Ē
Itís said that Vik Muniz was born in Sao Paolo, Brazil in 1961; that his mother was a switchboard operator; that his father was a bartender; that heís read parts of Ovidís Metamorphoses every morning since he was six. Around that age, he might have looked like this: …except probably in pajamas or perhaps naked, itís hard to know. Vik says his grandmother taught him to read at a young age, but according to a system that identified complete words, not syllables or letters. That meant he consequently had trouble writing when he entered school, and during those first two frustrating years of schooling turned to a more universal language: drawing.